The new life Charles Eliot Norton 12651321 Dante Alighieri Books
Download As PDF : The new life Charles Eliot Norton 12651321 Dante Alighieri Books
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
The new life Charles Eliot Norton 12651321 Dante Alighieri Books
To every heart which the sweet pain doth move,And unto which these words may now be brought
For true interpretation and kind thought,
Be greeting in our Lord’s name, which is Love.
Of those long hours wherein the stars, above,
Wake and keep watch, the third was almost nought,
When Love was shown me with such terrors fraught
As may not carelessly be spoken of.
He seemed like one who is full of joy, and had
My heart within his hand, and on his arm
My lady, with a mantle round her, slept;
Whom (having wakened her) anon he made
To eat that heart; she ate, as fearing harm.
Then he went out; and as he went, he wept.
The Kindle (fre)e-book is the Dante Gabriel Rossetti, with an introduction:
... This may possibly have been the first important thing that he translated from the Italian: ... He did not, of course, leave his version exactly as it had come at first: on the contrary, he took counsel with friends (Alfred Tennyson among the number), toned down crudities and juvenilities, and worked to make the whole thing impressive and artistic—for in such matters he was much more chargeable with over-fastidiousness than with laxity. Still, the work, as we now have it, is essentially the work of those adolescent years—from time to time reconsidered and improved, but not transmuted.
A youthful translator befits a youthful book, perhaps:
Boccaccio, in his Life of Dante, tells us that the great poet, in later life, was ashamed of this work of his youth. Such a statement hardly seems reconcilable with the allusions to it made or implied in the Commedia; but it is true that the Vita Nuova is a book which only youth could have produced, and which must chiefly remain sacred to the young; to each of whom the figure of Beatrice, less lifelike than lovelike, will seem the friend of his own heart. Nor is this, perhaps, its least praise.
This is a beautiful and arcane book, and Rossetti's English versions of Dante's poetry and prose, although they may seem betrayals to those who know the Italian, are in themselves wonderful, again, especially to the young:
Even as the others mock, thou mockest me;
Not dreaming, noble lady, whence it is
That I am taken with strange semblances,
Seeing thy face which is so fair to see:
For else, compassion would not suffer thee
To grieve my heart with such harsh scoffs as these.
Lo! Love, when thou art present, sits at ease,
And bears his mastership so mightily,
That all my troubled senses he thrusts out,
Sorely tormenting some, and slaying some,
Till none but he is left and has free range
To gaze on thee. This makes my face to change
Into another’s; while I stand all dumb,
And hear my senses clamour in their rout.
Product details
|
Tags : The new life [Charles Eliot Norton, 1265-1321 Dante Alighieri] on Amazon.com. *FREE* shipping on qualifying offers. This book was originally published prior to 1923, and represents a reproduction of an important historical work,Charles Eliot Norton, 1265-1321 Dante Alighieri,The new life,Ulan Press,B009UPDBCA,HISTORY General
People also read other books :
- Ormond Or the Secret Witness Charles Brockden Brown 9781143072000 Books
- Christopher and Columbus Arthur Litle 9781117713496 Books
- Ember edition by Bettie Sharpe Literature Fiction eBooks
- Therapy Down South Maggie Strict Remedy Book 2 edition by Devlin O'Neill Literature Fiction eBooks
- A Way to Escape edition by Sheree Smith Literature Fiction eBooks
The new life Charles Eliot Norton 12651321 Dante Alighieri Books Reviews
Even if Dante hadn't written the Divine Comedy, he would still be considered one of the greatest writers ever thanks to this beautiful piece.
I bought this for a college course. It was fine, got the job done, and we all moved on with our lives.
The New Life is published here in the beautiful translation by the English poet Dante Gabriel Rossetti, an inspired poetic re-creation comparable to Edward Fitzgerald's Rubaiyat of Omar Khayyam and a classic in its own right.
Completely incomprehensible to me.
I only downloaded this because of a Star Trek Voyager episode.
For this review I will not mention the actual work or the translation, but rather the extremely annoying fact that the entire text of this version is center-justified. For me this makes it all but impossible to read. Now why has the editor done this?
The New Life is a logical precursor of The Divine Comedy; both involve the figure of Beatrice, and both show a marked concern with the aesthetics of writing verse. Both also deal with love, though at this point arises the important distinction Though pure in both works, the love in The Divine Comedy is divine and therefore infinite. It engineers the Pilgrim’s salvation through the figure of Beatrice and guides the Poet’s progress as would a Muse. The unnamed woman of The New Life, identifiable with Beatrice, is closer, as portrayed, to the feminine persona of courtly poetry, and the love that she represents is transcendent.
The poems of The New Life, though arranged as chronological narrative, were not written as a cycle; indeed, many date from Dante’s youth. The first, for example, is an extraordinary dream poem originally sent for comment to Guido Cavalcanti. Guido was older than Dante and a proud, disdainful Florentine Guelf. He was quick to seize on the sonnet’s strong psychological implications. Love appears as a feudal lord. In his arms he holds a sleeping woman, who is naked except for a blood-red cloak thrown about her. In his hand he holds the poet’s heart. Love then awakens the woman, convinces her to eat the poet’s heart, then departs with her, and the dream ends. Though written considerably earlier than The New Life, this sonnet sets the psychological tone for the entire work. Without knowing, the lady has consumed the poet’s heart and, by extension, his soul and his life; the poet’s own love is the means by which she has done this.
Poems, however, constitute only one part of The New Life. Accompanying them are two kinds of commentary. The first is prose narrative that illuminates the verse that follows it. The second, which immediately follows and appears whenever the poet deems necessary, is a commentary on the poem’s prosody itself. For example, the commentary on the dream poem notes that it is divided into two parts, that it initiates a response and resolves it, and that it was controversial when Dante had first circulated it, but that it ultimately won for him a special friend and mentor (Cavalcanti), who, however, remains unnamed.
This second variety of commentary breaks the narrative of the prose commentaries that introduce and link the verse; nevertheless, the commentaries on prosody indicate that the process through which Dante created The New Life is just as important to him as the work itself. Admittedly, Dante handles his concern with aesthetics less gracefully in this work than in The Divine Comedy; still, the privileged place that he implicitly assigns to prosody by including technical commentaries indicates his clear thesis that a poet grows artistically in direct proportion to the poem as it is written.
Even at the point when Beatrice dies, the logical climax and the place where one might expect some particularly personal element to appear, Dante refuses to allow it. Instead, he introduces a quotation from the lamentations of the book of Jeremiah to suggest the depth of his grief, notes that he cannot provide details about her death, and in the following section precisely calculates by the Arabic method the hour, day, and month on which she died. The result is that the reader dwells upon the mystical nature of the experience. The poet first encounters the woman as she begins her ninth year, and she dies on the ninth day of the ninth month. Thus, although one can calculate that the unnamed love dies on June 8, 1290 (by the Roman calendar), the affair becomes universalized, even stylized, in a way that implies a symmetry in the stages of life.
To every heart which the sweet pain doth move,
And unto which these words may now be brought
For true interpretation and kind thought,
Be greeting in our Lord’s name, which is Love.
Of those long hours wherein the stars, above,
Wake and keep watch, the third was almost nought,
When Love was shown me with such terrors fraught
As may not carelessly be spoken of.
He seemed like one who is full of joy, and had
My heart within his hand, and on his arm
My lady, with a mantle round her, slept;
Whom (having wakened her) anon he made
To eat that heart; she ate, as fearing harm.
Then he went out; and as he went, he wept.
The (fre)e-book is the Dante Gabriel Rossetti, with an introduction
... This may possibly have been the first important thing that he translated from the Italian ... He did not, of course, leave his version exactly as it had come at first on the contrary, he took counsel with friends (Alfred Tennyson among the number), toned down crudities and juvenilities, and worked to make the whole thing impressive and artistic—for in such matters he was much more chargeable with over-fastidiousness than with laxity. Still, the work, as we now have it, is essentially the work of those adolescent years—from time to time reconsidered and improved, but not transmuted.
A youthful translator befits a youthful book, perhaps
Boccaccio, in his Life of Dante, tells us that the great poet, in later life, was ashamed of this work of his youth. Such a statement hardly seems reconcilable with the allusions to it made or implied in the Commedia; but it is true that the Vita Nuova is a book which only youth could have produced, and which must chiefly remain sacred to the young; to each of whom the figure of Beatrice, less lifelike than lovelike, will seem the friend of his own heart. Nor is this, perhaps, its least praise.
This is a beautiful and arcane book, and Rossetti's English versions of Dante's poetry and prose, although they may seem betrayals to those who know the Italian, are in themselves wonderful, again, especially to the young
Even as the others mock, thou mockest me;
Not dreaming, noble lady, whence it is
That I am taken with strange semblances,
Seeing thy face which is so fair to see
For else, compassion would not suffer thee
To grieve my heart with such harsh scoffs as these.
Lo! Love, when thou art present, sits at ease,
And bears his mastership so mightily,
That all my troubled senses he thrusts out,
Sorely tormenting some, and slaying some,
Till none but he is left and has free range
To gaze on thee. This makes my face to change
Into another’s; while I stand all dumb,
And hear my senses clamour in their rout.
0 Response to "[MTZ]∎ [PDF] The new life Charles Eliot Norton 12651321 Dante Alighieri Books"
Post a Comment